ScreenFish

where faith and film are intertwined

John Wick

Pig: Nicolas Cage offers Humble Rage

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Who knew the culinary industry was so competitive?

Pig tells the story of Robin Feld (Nicolas Cage), a reclusive truffle hunter in the Oregonian wilderness. Living as somewhat of a hermit with his beloved pig, the mysterious Feld survives by selling truffles off the grid to Amir (Alex Wolff), an ambitious young culinary salesman. However, when a home invasion leads to the theft of his prized pig, Feld is infuriated. Hellbent on recovering his pet, Feld is forced to return to his former life and delve into Portland’s culinary underworld.

While the premise to Pig may sound ridiculous, the result is far from a joke. Written and directed by Michael Sarnoski, Pig is almost shocking in its silence. At a time when it feels like every middle-aged man needs to establish a revenge actioner, Pig uses all of those tropes to its benefit without throwing a punch. With franchises like John Wick, Nobody, and The Equalizer dominating the multiplex, Sarnoski creates a world that feels like it’s going to wow you with its set pieces but highlights its performances instead. (Admittedly, the biggest question mark to me remains the title. While the title works considering the story, it really feels like it should be the name for a gritty horror film instead of the character piece that it actually is.)

In many ways, the comparisons to John Wick are inevitable (and intentional). Whereas the first Wick film dealt with his vengeful attacks due to the death of his puppy, Pig takes a similar track with its narrative. Both Wick and Feld burn with wicked intensity and obsession over the loss of their animals. Both men’s quest for vengeance lead into the unknown seedy underbelly of their respective worlds. Even the names of both men strike fear into the heart of their former associates.

But, the films could not be more different. And that’s a great thing.

Unlike Wick’s eye for vengeance, Feld’s interest remains only retrieving his beloved pig. As he enters into the underworld, people freeze at the sight of him yet it’s more out of respect than fear. When he walks into an underground fight club, one expects vicious outbursts that will put the room in check but the result is far more powerful. Rather than unleash his anger upon the world for the loss of his pet, Feld has no interest in acts of violence. (Although, without giving any spoilers to the film’s finale, Feld turns out to be as lethal as Wick… without hurting a soul.) 

What’s more, credit must be given to Cage as well who is absolutely fascinating to watch work here. Without resorting to his trademark manic behaviour, Cage burns onscreen with an inner rage that bubbles hot below the surface. Although Cage’s career has intentionally veered into the realm of self-parody in the last decade or so, Pig is a reminder of how good he truly is when given material that harnesses his talent. (Seriously. I’d forgotten.)

In its soul, Pig is about far more than a lost animal. Featuring a solid script and performances, Pig plays out like a modern-day parable that highlights the power of identity. Although he’s been hiding in the woods for the last fifteen years, Feld’s name still rings in the ears of those who knew him. (In fact, his name carries such weight that he’s hesitant to use it.) However, this self-awareness becomes even more clear when it’s held up against his unlikely pseudo-partner Amir. 

Having grown up under his father’s shadow, Amir is a man who does not yet know who he is. Torn between his father’s achievements and charting is own path, he genuinely yearns for some acknowledgement about his own level of success. (For example, there’s no question that his brightly coloured Camaro is meant to show the world that he matters.) 

However, when he meets Feld, he discovers something different about himself through his experience with the culinary hero. Rather than let the world know that he has returned, Feld carries himself with quiet humility. For Feld, he knowswho he is but he has no interest in throwing it around. Although his mind is as sharp as his skills, Feld is so comfortable with himself that he knows the most powerful weapon at his disposal is to be himself. As such, there’s a beauty in his gruff and grizzled exterior that leaves a mark on the soul of his young companion.

Fueled by its heart, Pig is simply something to behold. With all the markers of yet another action-fest, Sarnoski has created something far more creative and almost poignant at times. Though there will be many who miss this film strictly due to their lack of interest in Cage or its marketing, trust me. This is one Pig who should not be put out to pasture.

Pig is available in select theatres on Friday, July 16th, 2021.

Nobody: Murder, Mayhem and [Toxic] Masculinity

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First, Liam Neeson changed the course of his career with Taken. Then, Reeves found his gun-fu again in John Wick. Now, Nobody introduces us to another ex-special ops man trying to move on with his life has risen to protect… well… suburbia.

Nobody introduces the world to Hutch Mansell (Bob Odenkirk), a middle-aged man trapped in a cycle of routine. Though he adores his wife and kids, Mansell is stuck in a dead-end job and clearly feels dejected as he attempts to navigate life in the suburbs. However, after a home invasion shakes up his world, Mansell’s long-simmering inner rage is unleashed upon those who broke into his home. When a brutal attack leads to the death of a mob boss’ son, Mansell suddenly must defend his family from a dangerous adversary bent on revenge.

Penned by the writer of John Wick, Nobody definitely falls in line with that particular franchise. Violent, vicious but also hilarious at times, Nobody is a tonne of fun. Directed by Ilya Naishuller (Hardcore Henry), the film puts a heavy emphasis on the violence of its action set pieces. Even so, while the blood flows freely, Naishull gives these scenes a bounce and elegance that keeps the tone fairly light as opposed to horrify. Backed by a solid cast (including the most entertaining performance by Christopher Lloyd in years), Odenkirk brings a surprisingly brutal energy that lights up the screen. As a middle-aged man pushed too far, Odenkirk is absolutely delightful as the former military man who wants to convince everyone—including himself—that his past is behind him. At the same time, the normally comedic actor completely commits to the action scenes and throw himself into the mix in such a way that you can’t help but enjoy watching. Although he plays the role with the utmost seriousness, there’s simply an affability around him that makes him enjoyable to watch. 

What sets Nobody apart from the Wick films though is that Mansell is just waiting for an excuse to return to his old life. Whereas Wick is dragged back into the underworld with the death of his dog, Mansell begins the series of events himself out of his own pent-up rage. Feelings of inferiority combined with the inevitable routine of life, Mansell feels as though he’s lost a part of himself and the stress continues within him builds until he explodes. (“There’s a part of me that’s been awakened apparently,” he recognizes.) In doing so, however, his actions create a cycle of violence that continues to escalate. Nevertheless, despite his own culpability, the film never judges him for his actions and he’s held up as the hero.

That’s where things get interesting.

Through its celebration of violence, the film also unintentionally (or intentionally?) celebrates toxic masculinity. Because of his love for his family and desire to protect others, one can’t help but like Mansell. At the same time, however, the film uses its revenge fantasy element to breathe life into him. This is a world where women are resided to the basement (literally) when the violence breaks out. While may be a fun ride as an action film, Mansell’s character becomes problematic as it upholds the current trend of the ‘angry, middle class male’. 

Trapped by the feeling of weakness when his family is attacked, Mansell has lost a sense of himself, especially as everyone around him seems to point out how pathetic he has become. (“You did the right thing for you… but if it was my family,” he’s told by a police officer.) By highlighting the restlessness that’s gnawing at Mansell from within, Nobody validates his unleashing of rage as an act of reclaiming his manhood. Here, Mansell has a renewed sense of confidence and vigour. Suddenly, the repressed male becomes the actualized male. (Due to the fun nature of the world and action scenes, one only hopes that this is lack of awareness is balanced out with stronger female representation in the inevitable sequel.)

With the home video release, one can’t deny that the film looks great in 4K. Nobody takes its set pieces seriously enough that the digital release helps augment the fun. At the same time, while the bonus features are sparse, there are some interesting tidbits that come out through them. (Like the fact that the story was inspired by actual events in Odenkirk’s life!) A behind-the-scenes featurette and bonus scenes are expected but there’s also a solid feature-length commentary included as well which lets Odenkirk and his team delve into the world that they have created together.

RZA, Bob Odenkirk and Christopher Lloyd star in a scene from the movie “Nobody.” The Catholic News Service classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian. (CNS photo/Allen Fraser, Universal Pictures)

While the film certainly requires some reflection in regards to its masculine stereotypes, it is still a visual treat with its choreography and gunplay. Like Neeson and Reeves, Odenkirk has found new life in an action franchise that reinvents him as an actor. Personally though, I just hope that future entries in the franchise help this Nobody to be more inclusive to everybody.

Nobody is available in theatres and on VOD on Tuesday, June 22nd, 2021.

John Wick: Chapter 2 – The Soul of the Soldier

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NOTE:  The following article contains major spoilers for John Wick: Chapter 2.

John Wick: Chapter 2 continues the story of ‘retired’ hitman, John Wick (Keanu Reeves).  Set a mere two weeks after the events of first film, Wick has successfully finished his manic vengeance and settles in at home for his new life… for about 10 minutes.  Soon after, he is met by Santino D’Antonio (Riccardo Scamarcio), a former associate who reminds him of an old debt that needs to be repaid.  Despite his protests, Wick is forced back to work to fulfill his obligation—after all, there are rules to be followed—and he finds himself in the middle of a global turf war.

In the most surprising mash-up of the year, John Wick: Chapter 2 opens with a clip of Buster Keaton projected on a nearby wall as the action takes place below.  The immediate imagery is clear:  This is a film that will emphasize the visuals and physical performances.  In essence, this means that, like Keaton, Reeves’s character will show you through the story with his actions, as opposed to his words.  By utilizing a unique style of violence that some have dubbed ‘gun-fu’, the appeal of the Wick films seems to lie with its almost dance-like action sequences, combining the use of martial arts and firearms.  Whereas the majority of actioners now make use of the infamous ‘shaky-cam’ style of filmmaking (I blame you, Paul Greengrass), the Wick series follows the violent acts in ways that develops genuine intensity.  Although extremely violent, it remains both visceral and stunning visually.

Still, there is far more to the film than choreography and headshots.  Whereas the first film follows Wick’s grief-filled heart, Chapter 2 focuses entirely on his soul.  As the film builds to its climax, he seems to straddle two different worlds.  With the final battle taking place in an art gallery featuring an exhibit entitled ‘Reflections on the Soul’, John Wick has no time to do so. By literally making his descent into the underworld that he is caught between heaven’s gates and hell’s flames.  Through the director’s ingenious choice to place the final battle in a hall of mirrors, we see that Wick is actually two men – one seeking redemption and the other forever damned.  (Admittedly, this reflective setting is hardly new to the action genre, but the subtext keeps the moment fresh.)

What’s more, in John Wick: Chapter 2, justice is swift and vengeful.  In an “eye for an eye” world, Wick is reminded that he is “still Old Testament”.  We see this evidenced in the penultimate moment of the film where, in a scene reminiscent of Genesis 4, John literally kills his ‘blood brother’ in the Continental’s dining hall.  However, in doing so, he also breaks one of the key rules of his profession and thus, destroys the only place of Edenic shalom that he has enjoyed.  As a result, such an act causes him to be thrown out into the night.  Yet, even so, the Continental’s benevolent and ever-present manager, Winston (Ian McShane), continues to care for him.  In a moment reminiscent of Cain’s exchange with God after the murder of Abel, Winston informs John that the only reason he remains alive is ‘because he wills it’.  (What’s more, to deepen the comparison with this moment, Winston even hands John a marker as he departs.) As the film closes, he is cast out into the night with nowhere to wander.  Through Winston’s act of grace, he takes on a God-like persona as he watches over Wick, yet because of his actions, there must be consequences.  John is a man who has sinned against Winston and, although there remains the desire to forgive, Winston cannot erase the actions that have already taken place. As a result, he is now the target of everyone yet protected by none.

This is a film that explores the moment where one is forced to decide who they shall be.  While on his way to meet underground crime boss, Bowery King (Laurence Fishburne), Wick is met with a sign that says ‘Jesus saves’, yet he walks right past it.  It is a reminder that the justice of the Old Testament can appear dark without the light inherent to the New Testament.  Wick is a man who needs salvation yet finds no absolution in anything.  Near the end of the film, he sits in his burnt down home, clutching his wife’s rosary and reflecting on the events that have just taken place.  Although he is clearly repentant, he refuses to—or, more accurately, is unable to—move beyond his past.

After all is said and done, what people will most likely remember about John Wick: Chapter 2 is its stylized violence and spectacular battle scenes.  Still, the deeper story within the film reveals a man who wishes to take steps into a world of freedom but remains a lost soul, running from his past and leaning into an empty future.  (“Am I free?,” he asks as he is reminded that he ‘never will be’.)  Though called ‘the Boogeyman’ by those who fear him, Wick is, in fact, more of a ghost, floating through life without any firm spiritual grounding.

One only hopes that, in the inevitable (and likely, final) Chapter 3, Wick finally finds some shred of light in the darkness that continues to swallow him whole.